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    Jim Kelly A Little Wes

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    Cirù Monia Falco
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    Jim Kelly A Little Wes

    Uploaded by

    Cirù Monia Falco
    505 views8 pages
    tab

    Original Title

    Jim Kelly a Little Wes

    Copyright

    © © All Rights Reserved

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    PDF, TXT or read online from Scribd

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    tab

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    505 views8 pages

    Jim Kelly A Little Wes

    Uploaded by

    Cirù Monia Falco
    tab

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    of 8

    FREE music lessons from Berklee College of Music

    More Guitar Workshop Jim Kelly A Little Wes

    Click CD icons to listen to CD tracks from book. Press ESC to cancel sound.

    Check out Berkleeshares.com for more lessons just like this one.

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    2005 Berklee College of Music licensed to the public under http://creativecommons.org/licenses/by-nd-nc/1.0/ verify at http://berkleeshares.com/legal-notice

    Audio CD Tracks Band I Play-along 16 (no guitar solo)

    Intro: 8 bars In Head: twice Written Solo: I chorus Guitar Solo: 3 choruses Out Head: once

    choice because some notes just don't fit. Tliis section can seem trciiclierons ;uicl foreign. 'IF playingaroiind the notes in the chord (the chord tones). Since both chords are related to Hi Dorian (Ab major scale), listen to ho\v these oilier notes sound when added to the chord tones.
    It takes a longtime to understand and feel mnifortalilc with chords that are shiftingkeys. Many tunes are like this: you ciiii group most cliorrls into the same key. but there arc places where l i e chords arc from another key (nonrliatonic). By snidyingdiese places. you can improve the way your lines conned.

    Tiiis is a drdiration to Wes .VInntpnierywithout question, one of the greatest jazz guitarists the world will ever , know. I lie fccl and the Immioiiy of this IIIIK" iiiv siniiliir to some of tiit" tliings Itc wrote iind played. Ifs a 16liar fonn that's basically in the key of C minor. In fact, you can get throu$i most of the piece by ear. stayingin the C minor blues sound.

    One of tlie more (liffioih aspects of this piecc is knowingltow and wlien in take a~lvantagc of alpeggins and scales not directly in the key. Illis is one tliinyliat \Ves conlrl do incredibly veil. For example., in tlie 4th liar of tlir tune. wlien tile C minor shifts to tlic C7 somid. He could set up the rrsoliition into the dl17 from tlic C7 with souw hip-soni~lingscaleor arpogio line. The blues sound would still work here, but a little research gives more options that can lend tliese sorts of jam connections to your solos.

    On tlie rccordin"; we played an 8-l~ar intro vamp. Often tlicsc kinds of inlros arc open (1101 set in lengtli). dtlioi~gli the phrases would typically lie 4 bars long The inelocly is played twice at the beginning- then 1 played a onecliotiis written solo that is intended to sonnrl like ideas \Iies might have playcrl. This solo is all iironiitl tlic lower positions aiid in a rrgister that \Yes favored. To gn for that Wes-like tow. I used iny tlnii~ih instead of a pick.

    I don't think anyone else will ever lie as flitcnt with tliis style as lie was, Inn it's a "reat sound and lends itself to r expcniiientin"; T y slides and such since "tl~uinbing'each note doesn't work as well with this approach.
    After the solos, the melody can lie played once or hvice. Tlic enclingis a vamp on the intro chord cliangcs. When playingliive. tn, to fade out the ending.

    A real drawback to playing only by ear is tliat yo11can miss a lot of stuff if yoii're just guessingwhat chord scales or notes will (it. Take tlir 6th bar, for example. where the chords are Him? to I N . The blues scale ism the best

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